Michael Scoggins, ‘The Dancers (after Matisse)’, 2011, Phillips
Save
Save
View
View in room
Share
Share

The Dancers (after Matisse), 2011

Marker and prismacolor on paper
55 9/10 × 67 2/5 in
141.9 × 171.1 cm
Bidding closed
About the work
Provenance
P
Phillips
Medium
Drawing, Collage or other Work on Paper
Signature
Signed "Michael S." lower right; further signed, titled, inscribed and dated ""The Dancers" After Henri Matisse 1910 The Hermitage, St. …
Michael Scoggins
American, b. 1973
Follow

“The work I make is always political,” says Michael Scoggins, who lampoons American and art-world politics and provincialism in trenchant, disarming schoolboy-style doodles and writings. He began, as he describes, as “a painters’ painter,” invested in the materials and processes of his medium and convinced that paintings should speak for themselves. Ultimately feeling blocked by this early work, he revisited his adult and childhood notebooks and hit upon the approach he has been following ever since. On large-scale sheets of paper that he cuts, creases, crumples, and rules with lines to look exactly like notebook pages, he sketches, makes notes, and writes essays in a naïve, childlike hand. Scoggins presents each piece as if it is an assignment, dutifully writing his name, “Michael S.,” and the date next to drawings of superheroes, dead presidents, and phrases like, “Pinko, Commie, Art.”

Michael Scoggins, ‘The Dancers (after Matisse)’, 2011, Phillips
Save
Save
View
View in room
Share
Share
About the work
Provenance
P
Phillips
Medium
Drawing, Collage or other Work on Paper
Signature
Signed "Michael S." lower right; further signed, titled, inscribed and dated ""The Dancers" After Henri Matisse 1910 The Hermitage, St. …
Michael Scoggins
American, b. 1973
Follow

“The work I make is always political,” says Michael Scoggins, who lampoons American and art-world politics and provincialism in trenchant, disarming schoolboy-style doodles and writings. He began, as he describes, as “a painters’ painter,” invested in the materials and processes of his medium and convinced that paintings should speak for themselves. Ultimately feeling blocked by this early work, he revisited his adult and childhood notebooks and hit upon the approach he has been following ever since. On large-scale sheets of paper that he cuts, creases, crumples, and rules with lines to look exactly like notebook pages, he sketches, makes notes, and writes essays in a naïve, childlike hand. Scoggins presents each piece as if it is an assignment, dutifully writing his name, “Michael S.,” and the date next to drawings of superheroes, dead presidents, and phrases like, “Pinko, Commie, Art.”

The Dancers (after Matisse), 2011

Marker and prismacolor on paper
55 9/10 × 67 2/5 in
141.9 × 171.1 cm
Bidding closed
Other works by Michael Scoggins